View allAll Photos Tagged pilasters
Frick Collection a.k.a. Henry Clay Frick House, 1 East 70th Street, New York, NY 10021, United States (Thomas Hastings of Carrère and Hastings: 1913-1914)
Since much altered by enclosing the colonnade.
Palais "Equitable"
(Other pictures you can see by clicking on the link at the end of page!)
Image: The granite façade of the "Palais Equitable". The base from Czech "hornblende granite" (granodiorite), superstructure: reddish granite from Lower Austria, pilasters and columns: "Rotschwedischer (red coarse-grained) granite".
© Verlag Christian Brandstätter - Alice Schumacher
"Stock-im-Eisen-Platz 3" (corner Seilergasse/Kärntnerstraße): Architect: Andreas Streit (1890-91). The building was erected for a New York Insurance Company ("Equitable") - an explanation for the U.S. eagle (bronze) on the roof. At the corner to Kärntnerstraße is situated the famouse "Stock im Eisen" (literally; stick/pole in iron).
The Palais "Equitable" is the only building in Vienna with a thick granite wall in Verblendmauertechnik (veneer wall technique). Base and portal consist of granodiorite, the so-called "Cistec granite", from Petersburg-Jeschitz at Pilsen, the remaining parts of the granite facade from Limberg in Maissau in Lower Austria. The gray-pink "Maissauer granite" is more fine-grained and plagioklasreich (rich in plagioklas). It comes from the Moravicum, one of the oldest units of the Bohemian Massif in Austria (Ordovician, about 450 million years).
The dark stripes under the cornice to the first storey and the portal superstructure consist of South Tyrolean "Pechstein porphyry" from Castelrotto. This dark rhyolite (quartz porphyry), which consists partly of shiny black obsidian (volcanic glass), belongs to the "Bronze quartz porphyry", which owes its existence to massive volcanic eruptions in the Permian (280 million years ago). The silica-rich rhyolite is similar in chemical composition to the plutonic granite. The massive columns and pilasters in the 2nd and 3rd floor are made of a red coarse-grained granite (presumably "Rotschwedischer granite - see above").
The wall paneling in the entrance hall and vestibule consist of Carrara marble ("Pavonazetto"), red Adnet lime, light "Unterberger marble", various colorful limestone conglomerates and breccias. The pilasters are of full green serpentinite. In the floor are red Adnet limestones, light "Untersberger", red-violet Kalkbrekzie, yellow "Giallo di Siena"as well as serpentinite artfully laid.
The walls of the stairwell, then again, are extensively coated with dark veined, white Carrara marbe of the type of "Pavonazetto". For pilasters as well as for door and window jambs the bright "Unterberger marble" ("marble trout") was inserted. Similarly, also for balustrades, including bright coral limestone breccia for its baluster. The stairs and the various platform - and intermediate platform areas consist of Sterzinger marble.
© Verlag Christian Brandstätter - Alice Schumacher © Verlag Christian Brandstätter - Alice Schumacher
Image: The base of the "Stock im Eisen" is from Czech "hornblende granite" (granodiorite). For the modern framing on the floor was used the South African dark green pyroxene-granite "Verde Fontaine" and the fine-grained, dark red Swedish alkali granite "Tranas". Main surface of the road : gray Upper Austrian granite slabs.
© Verlag Christian Brandstätter - Alice Schumacher picture: vestibule in the "Palais Equitable" with a detail of the natural stone inlay on the floor: red Adnet limestones, brighter "Untersberger marble", red-violet Kalkbrekzie (lime brekzie), yellow lime "Giallo di Siena" and serpentinite.
© Verlag Christian Brandstätter - Alice Schumacher
Thirty-eight monolithic, supporting stone pillars decorate the staircase. Four of them are of green serpentinit brekzie (ground floor), two more on the upper floor of bright, fossil-rich , grobblockiger (coarse-grained) coral limestone breccia. For the remaining 32 items have been used different types of granite: "Rotschwedischer" granite, the green-red Epidotgranit ("Granite Rouge Antique") from Corsica (France), the coarse-grained "red granite" from Liberec (Czech Republic) and the gray granite of Dornach (Upper Austria ).
The visit of the vestibule and the inner courtyard is recommended, but only on weekdays possible.
North Bingham Street, West Cornwall, Vermont USA • Greek Revival style, 1 story. Features: corner pilasters, wall pilasters, full entablature, triangular gable fan, peaked lintelboards, entry pilasters, entry entablature. • Remodeled by George Smith (father of Clinton), as the Free Church, in 1862.
• Clinton Smith was 16 when his father did whatever he did in the 1862 improvements to the new Free Church. There's no record I've yet seen to show any formal (schooling) training, that might predict the amazing career Clinton had. This is an example of classic father-son, hands-on apprenticeship in the craft of joinery. See where the Smith's went from this modest start, here.
The Wellington Hotel is now derelict.
Corner of Bromsgrove Street and Bristol Street in Southside.
Looks like it's been boarded up and closed for years. Lost plasterwork, graffiti all over. It closed down in 2019.
Even The Diskery next door looked closed, but at least it wasn't like this.
The Wellington Hotel, so named in 1818. The left part represents a house of c. 1792. Now stuccoed a storey added, and a big wing built towards Bristol Street with a shallow bow and Corinthian pilasters. This looks convincingly Regency but is all of 1890-1 by James & Lister Lea, who also rebuilt the baker's shop to its right. (The 1792 lessee, Richard Avern, was a baker). Ground floor by J. P. Osborne & Son, 1930. The bar has been gutted except for one cubic fireplace of 1930. Good billiard room of 1890 with covered ceiling and lantern.
From Pevsner Architectural Guides: Birmingham by Andy Foster.
The 300-metre long Baroque facade is filled with atlantes, columns, pilasters, and ornamental window framings.
The Geffrye Museum displays a series of interior room designs showing the evolution of middle class design taste from the 17th through to the 21st century. It "is set in almshouses built in 1714 [the first year of the Georgian era] by the Ironmongers' Company, with a bequest from Sir Robert Geffrye, twice master of the Company and former Lord Mayor of London." (Wikipedia)
The ground floor of each east-facing house is decorated to represent the interior design style of a different period. They are Grade I listed buildings.
This pilaster is part of a brick niche near the entrance gate on Kingsland Road.
A Corinthian pilaster capital from the Nymphaion. Dated to 2nd century AD.
Olympia Archaeological Museum, Greece.
Interior relief pilasters and roof "beams." Hypogeum Lagrasta I. Dromos tomb of 9 rooms with Ionic pilasters, red and white plaster and "house" relief carving. Hellenistic-Daunian, belonging to the Dasimii family. Built primarily in the 3rd Century BC, used 3rd Century BC - 2nd Century AD. Carved into the tuf groundrock. Excavated 1843 AD - 1853 AD. Canosa di Puglia, Barletta, Apulia, Italy. Copyright 2016, James A. Glazier. I would have liked to visit more of these tombs, but Jim was impatient.
Musée-Guimet, Figure between pilaster
Preah Khan Kompong Svay district, Kompong Thom province
Beginning of the Bayon style second half of the 12th century sandstone
A look around the market town of Bromyard in Herefordshire.
Beyond the High Street in Bromyard is Broad Street.
Grade II Listed Building
Listing Text
1.
1962 BROMYARD BROMYARD
BROAD STREET
(North Side)
Gable House
SO 6554 1/157
II GV
2.
Late C18 refronted and much altered. 3 storeys. Modern sashes, Victorian
pilastered shops. Slate roof. Occupies prominent corner position.
Timber framing exposed at rear. Original C17 staircase. RCHM plate 75.
Nos 11 to 13 (consec) and Gable House form a group.
Listing NGR: SO6556554634
This text is from the original listing, and may not necessarily reflect the current setting of the building.
road sign
Three Pilasters.
Italian, Tuscany, from the Pulpit of Pisa Cathedral, carved about 1302-10.
.
The trumpet-blowing angels, heralding the Last Judgment once flanked a relief of Christ as Judge (now in Berln) in the center. The center pilaster is composed of a compact group with symbols of the evangelists: the angel of Matthew at the center, the ox of Luke at his left and the lion of Mark on the right. The pilaster supported an eagle lectern for the reading of the Gospels. The eagle of John thus completed a representation known as a tetramorph, Probaly executed by assistants after designs by the sculptor Giovanni Pisano, the pulpit was finished in 1310. It was dismantled in 1603, then reconstructed in the cathedral in 1926.
Charles Scribner's Sons, 155 Fifth Avenue, New York, New York (Ernest Flagg : 1893 - 1894)
Ladies Miles Historic District
Gent 48 Southside street art at the former Scarlets bar.
Horse Fair and Thorp Street.
White Lion pub.
On the north east corner of Thorp Street, the former White Lion of 1896 by J. & L. Lea for Davenports Brewery. Brick with stone dressings, Elizabethan style: giant fluted Corinithian pilasters and a corner spirelet deriving from Burghley House.
Grade II listed building
Former White Lion Public House
Summary
A public house of 1896 by James and Lister Lea with attached late-C18 building to the north.
Reasons for Designation
The former White Lion public house, of 1896 by James and Lister Lea, is listed at Grade II for the following principal reasons:
Architectural interest:
* the public house is a particularly good example of James and Lister Lea’s work, with elaborate exterior with limestone dressings, oriel balconies and decorative railings; * despite alteration to the ground floor interior the building retains some good late-C19 features and fittings with newel post stair, fireplaces and remarkably complete function room on the first floor.
Historic interest:
* as a late-C19 example of a public house designed by the architectural firm James and Lister Lea, the renowned public house builders of the era working in the Birmingham area.
History
A public house is shown on the corner of Horse Fair and Thorp Street on the first edition Ordnance Survey map published in 1890. At the end of the C19, architectural practice James and Lister Lea were commissioned by John Davenport and Sons Brewery to update the pub, with the building largely rebuilt at that time. The new public house was completed in 1896 with the spire at the corner of the building inspired by Burghley House in Lincolnshire.
By the late-C20 the building was still in use as a public house, occupying the address 34 Horse Fair, with neighbouring late-C18 buildings to the north depicted on historic maps as 35 and 36 Horse Fair, in use as shops. By 1978 numbers 35 and 36 had been amalgamated and in the late-C20 these two buildings became part of the expanding public house to the south with the whole of the ground floor of the buildings knocked through to accommodate additional bar space.
During the late-C20 the upper floors of number 34 were altered to provide some accommodation and additional toilet facilities, with some subdivision of the spaces taking place. The upper floors of numbers 35 and 36 (now known as 36 Horse Fair) were adapted to provide storage space with the roof structure and the north end of the principal facade on the upper floors rebuilt at this time.
By the early-C21 the public house had become a gentleman’s club with the entire ground floor exterior enclosed in a new timber frontage without window openings. It is not known whether any of the earlier frontage survives beneath, recent investigations (2021) have revealed areas of C20 mosaic tiling beneath the frontage. Additional refurbishment of the bar area took place at this time including the installation of a new bar and a decorative scheme with applied panelling. In 2014 images show that the building underwent some further refurbishment to the exterior which saw the removal of the two pediments above the façade’s moulded gables.
Details
A public house of 1896 by James and Lister Lea with attached late-C18 building to the north.
MATERIALS: both buildings are constructed of brick, 34 has limestone dressings with iron railings under a slate roof; 36 is without stone dressings and has a tiled roof.
PLAN: number 34 is rectangular with a canted corner to front both Horse Fair and Thorp Street. Number 36 continues to the north along Horse Fair. Both buildings have large, single-storey flat-roofed extensions to the rear which have infilled former courtyards, these later buildings are not included.
EXTERIOR: the main public house is constructed in an Elizabethan Revival style with the brick facades punctuated by limestone plat bands. The building is three storeys with a central entrance door at its corner with clock, spirelet and iron weathervane above. On the first and second stories of the corner bay are central two-light mullioned windows with fluted pilasters; the first floor windows have two transoms. To either side are additional, single-light windows with curved glass to follow both roads around the corner of the plot. The first floor window on the right hand side appears to have leaded glass while the lead on the left hand example has been lost. On the second storey is a balcony with decorative wrought iron railings, which continues to the windows to either side to curve around the corner of the building.
To the left of the corner, fronting Horse Fair, the building continues with giant fluted Corinthian pilasters and central shaped gable with carved panel with the initials J D & S for John Davenport and Sons Brewery. This façade has a roughly symmetrical composition, with a wide central bay with a double-height Renaissance-arched architrave containing the windows on the first and second floors. On the first floor is a four-light mullioned and transomed opening with the central mullion carved as a column with foliate capital appearing to support the second storey oriel balcony above. The balcony has decorative wrought iron railings and four-light mullion window. The central mullion on this storey continues the illusion of the column and supports a keystone at its top. To the left (north) the building continues with an additional pilaster and a window to the first and second stories, the first storey window with a transom.
To the right of the corner (east) the public house continues along Thorp Street. Directly to the right of the spirelet is a bay with additional shaped gable with mouldings and carved date stone of 1896. Beneath the gable is a further oriel balcony with railings matching the one on Horse Fair, though of slightly smaller proportions with only three-light windows to the first and second stories. Further to the right (east) is an additional mullioned and transomed window on the first floor with limestone dressings, with two single-pane sash windows above. The eastern end of this façade is separated by a brick pilaster with sash stair window to the left with rubbed brick arch and limestone keystone. To the right are two further timber sash windows with those on the first storey also having rubbed brick aches and keystones. The ground floor of this eastern end of the facade is not covered by the timber frontage and is brick with two small casement leaded windows. Further to the east is a late-C20 single-storey flat roofed extension, fronting Thorp Street (not included).
34 Horse Fair has greater spacing between floor plates than number 36, and though both buildings have three storeys, number 34 is significantly taller. Number 36 has a pitched roof and a series of four, four-light, horned sashes at first-floor level and four four-light casements at second floor. The façade is symmetrical and its origin as two separate buildings is clearly legible. A central scar in the brickwork shows that the north end of the facade has been rebuilt, with only the south end of the building retaining original brick segmental arches above the first-floor windows. At ground floor the façade has been enclosed by the C21 frontage of the gentleman’s club, though some elements of the original frontage appear to survive beneath. The right-hand bay of the building now forms the principal entrance.
INTERIOR: the ground floor level of numbers 34 and 36 are mostly open-plan and have seen considerable alteration to form a large, open bar space which continues through to the C20 extension to the rear (not included). Some internal joinery in the bar area appears to survive including dado rails and cornicing, though some sections and the applied panelling are later additions in a design intended to match. The principal bar is located to the south-east side of the building and is also a later insertion with applied panelling. The back bar with deeply moulded cornice has been altered but may be original. Brick steps lead from the ground floor to the basement which contains the pub’s services including a surviving barrel chute accessed via Thorp Street.
The upper floors of number 34 are accessed by the late-C19 newel post stair. The stair has a fluted post with heavy moulding and foliate carving on the ground floor, with the posts becoming plainer in design as they continue up the building. The open-string stair has curved tread ends and pendant with two balusters to each tread. An arch opening at first floor level is legible but is now partly infilled and leads to a large, smart function room occupying the southern and western end of the building, overlooking Horse Fair. At the northern end of the room an elegant late- C19 fireplace surround with egg and dart cornice survives, though C20 tiling has been inserted to the interior. Original cornicing and moulded window architraves survive as does the skirting. A dado rail features decorative indentation above and below the moulded string. Lincrusta wallpaper is in situ below the dado and remnants of a gas lamp are attached to the wall above the entrance door. The remainder of the first floor has been subdivided to accommodate cloakroom facilities, though original cornicing has been left in situ. A further room, likely to have been an office, survives to the very rear of number 34, with built-in cupboards.
The second floor of number 34 retains both of its decorative cast-iron fireplaces and though the space has been altered and adapted to create a self-contained flat, much of the original joinery survives, including four-panelled doors, skirting and moulded window architraves.
The first floor of number 36 has been removed to create a double-height space while the second storey is now only accessible via the roof of the C20 extension and contain spaces in use as storage and a C20 timber roof structure.
The flat-roofed C20 extensions to the rear of numbers 34-36 are not included and do not form part of the listing.
Grade: II Listed
Bridge over Leeds-Liverpool Canal, c.1800, Engineers Robert Whitworth (d.1799) and Samuel Fletcher. Coursed sandstone blocks. Elliptical arch with rusticated voussoirs, a band above, pilastered ends.
Listing NGR: SD8035332205
Source: English Heritage
Listed building text is © Crown Copyright
PA Bolt On Knotts Bridge Over Leeds Liverpool Canal
The canal is 127.25 miles long and flows from the inland woollen town of Leeds to the coastal sea port of Liverpool, crossing the Pennines along the way. Work on the canal started in 1770 and built in a number of sections and was finally completed in 1816.
The bridge was originally built in 1800 when the canal was extended from Burnley to Enfield. The cut mark and bolt is in good condition and next to the 5th arch stone up from the ground level.
The following details were obtained from the OS website and typing the following coordinates 53,47,8.89,W,2,17,59.09. The listing states that it is 0 metres above ground but I would estimate it to be 1 metre.
Leeds & Liverpool Canal - Burnley Business Park Bridge, adjacent to Knotts Bridge (No.123)
Waterway: Leeds & Liverpool Canal »
From 07/05/2013 to 27/09/2013
UPDATE (28 August 2013): Delays to Canal navigation & Towpath users.
During the week 9th to 13th September 2013 beams for the Bridge will be put into place. This will cause some disruption to the canal and towpath users as they will be delayed for up to 30 minutes as each of the 12 beams are lifted into place.
During lifting operations you will be asked to wait by a banksman, and as soon as the beam is in place you will be allowed to pass.
This is enforced by the Canal & River Trust to protect the users of the waterway from danger.
Knotts Bridge (No. 123) and the public footpath on the south side of the canal will remain open at all times.
Staten Island Supreme Courthouse aka Richmond County Courthouse, 18 Richmond Terrace, Staten Island, NY 10301 (John Carrère and Thomas Hastings : 1913-1919)
Bowery Savings Bank, 130 Bowery bet Grand and Groome Streets, New York, NY (Stanford White of McKim, Mead. 1893 -1895)
People say it looks "off somehow but I can't put my finger on why" and then you tell them it's from 1933 and they say "ah, that makes sense."
"So there is a mismatch between the building's architectural style(s) and the actual time period of its erection; and between its architectural style(s) and its shape and proportions," you say, and they say "ah, yes, yes."
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In downtown Schenectady, New York, on August 29th, 2016, Schenectady City Hall as viewed from the southeast corner of Franklin Street and Clinton Street.
The building was designed by McKim, Mead, and White.
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Library of Congress classification ideas:
NA4431 City halls—United States—Pictorial works.
NA705.5.N46 Neoclassicism (Architecture)—United States—Pictorial works.
NA705.5.H57 Historicism in architecture—United States—Pictorial works.
E159 National Register of Historic Places—Pictorial works.
E159 Historic buildings—United States—Pictorial works.
NA2930 Towers—United States—Pictorial works.
NA737.M4 McKim, Mead & White.
E169.1 Nineteen thirties—Pictorial works.
F129.S5 Schenectady (N.Y.)—Pictorial works.
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Art & Architecture Thesaurus term:
• pilasters
Conservators' Hall,New York Public Library, Fifth Avenue and 42nd Street, New York, NY (Carrère and Hastings : 1897 – 1911)
NRHP #66000546
This small lobby off of 42nd Street leads to Room 80. This was formerly the Circulation division and is now the Celeste Bartos Forum.
This room is characterized by a Doric order with abbreviated entablature- a device useful in interiors, arches, and vaults where a full entablature might be clumsy.
Three Pilasters.
Italian, Tuscany, from the Pulpit of Pisa Cathedral, carved about 1302-10.
.
The trumpet-blowing angels, heralding the Last Judgment once flanked a relief of Christ as Judge (now in Berln) in the center. The center pilaster is composed of a compact group with symbols of the evangelists: the angel of Matthew at the center, the ox of Luke at his left and the lion of Mark on the right. The pilaster supported an eagle lectern for the reading of the Gospels. The eagle of John thus completed a representation known as a tetramorph, Probaly executed by assistants after designs by the sculptor Giovanni Pisano, the pulpit was finished in 1310. It was dismantled in 1603, then reconstructed in the cathedral in 1926.
Specifications
Outside
The church is built over a cross-shaped floor plan. The focal point over the crossing is the central, slender dome on a high, octagonal drum with an octagonal lantern. The two three-storey façade towers are structured with pilasters and cornices, which in the lowest part enclose two figure niches and one window opening at the top. The capitals of the pilasters show Tuscan, Ionian and Corinthian forms in ascending order of the stories. The towers are crowned by high onion helmets. The oldest bell was cast in 1728 by Andreas Röder. The 900 kg crucifix and the 368 kg petrus bell were purchased in 1964. In the niches of the towers, three figures each are placed: at the north tower below a monk, probably St. Benedict or Francis of Assisi, above John the Baptist and on the outside a late Baroque Saint Ulrich. At the south tower are below the holy Ferdinand of Castile, above the holy Helena and outside a 1859 manufactured Antonius of Padua set. Between the towers, the curved façade on the ground floor has a rectangular porch above the entrance, on which stands an ecce homo group. The end of the central facade forms an aedicule with a figure niche, which contains an in 1929 by Jacob Campidell created figure of the Christ King in preacher gesture. On the underside of the portico is the multiform figure of Christ, painted in the first half of the 19th century. To the east of the northern facade tower is an oval connecting room that leads to the small, narrow-stretched Holy Cross Chapel with west choir, which is added on the north side of the church.
Inside
On the one and a half yoke long nave follows the crossing and the transept with semicircular apses. The two-bay choir ends in an apse and has on both sides of the second chancel square extensions with oratories on the upper floor. The walls are divided by pilasters with rich capitals, by a cranked, strongly projecting cornice with segmental arched windows above. Under the slightly swung organ loft, this shows the with "F. P. 1743" signed expulsion of the changers from the temple.
Baubeschreibung
Außen
Die Kirche ist über einem kreuzförmigen Grundriss gebaut. Mittelpunkt ist über der Vierung die zentrale schlanke Kuppel auf hohem, achteckigem Tambour mit einer achteckigen Laterne. Die zwei dreigeschossigen Fassadentürme sind mit Pilastern und Gesimsen gegliedert, die im untersten Teil zwei Figurennischen und oben je eine Fensteröffnungen umschließen. Die Kapitelle der Pilaster weisen in aufsteigender Folge der Geschosse toskanische, ionische und korinthische Formen auf. Die Türme werden von hohen Zwiebelhelmen bekrönt. Die älteste Glocke wurde 1728 von Andreas Röder gegossen. Die 900 kg schwere Kreuzglocke und die 368 kg schwere Petrusglocke wurden 1964 angeschafft. In den Nischen der Türme sind je drei Figuren aufgestellt: Am Nordturm unten ein Mönch, wohl der heilige Benedikt oder Franz von Assisi, oben Johannes der Täufer und an der Außenseite ein spätbarocker heiliger Ulrich. Am Südturm sind unten der heilige Ferdinand von Kastilien, oben die heilige Helena und außen ein 1859 gefertigter Antonius von Padua eingestellt. Zwischen den Türmen hat die eingeschwungene Fassade erdgeschossig einen rechteckigen Vorbau über dem Eingang, auf dem eine Ecce-homo-Gruppe steht. Den Abschluss der Mittelfassade bildet eine Ädikula mit einer Figurennische, die eine 1929 von Jacob Campidell geschaffene Figur des Christkönigs in Predigergestus birgt. Auf der Unterseite des Portikus ist die vielfigurige Anklage Christi gemalt, die in der ersten Hälfte des 19. Jahrhunderts entstand. Östlich des nördlichen Fassadenturms befindet sich ein ovaler Verbindungsraum, der in die kleine, schmalgestreckte Heiligenkreuzkapelle mit Westchor führt, die an der Nordseite der Kirche angebaut ist.
Innen
Auf das eineinhalb Joch lange Langhaus folgt die Vierung und das Querhaus mit halbrunden Apsiden. Der zweijochige Chor endet in einer Apsis und hat auf beiden Seiten des zweiten Chorjoches quadratische Anbauten mit Oratorien im Obergeschoss. Die Wände sind durch Pilaster mit reichen Kapitellen, durch ein verkröpftes, stark ausladendes Gesims mit segmentbogenförmigen Fenstern darüber gegliedert. Unter der leicht eingeschwungenen Orgelempore zeigt das mit „F. P. 1743“ signierte Gemälde die Vertreibung der Wechsler aus dem Tempel.
de.wikipedia.org/wiki/Heiligenkreuzkirche_Villach#Geschichte
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
[This series contains 9 photos] The Mock House in Damascus, Washington County, Virginia is a 2 story asymmetrical Queen Anne structure, built circa 1900 by the Mock family, owners of the town's saw mill. It gives the impression of being larger than its 3156 square feet, which is ample area for any house. The front facade displays a concerted massing of elements. This cross-gabled structure has a central steep pitched roof. I'm not knowledgeable enough to determine the roofing material. The porches on both floors are covered with metal roofing. A decorative Eastlake-style band of shingling (a plain band between two courses of fish-scale) is just below the upper porch complex. Beneath the cone on the right the porch is curved to match the larger porch beneath. Five turned posts and two pilasters where it joins the house surface provide support for the conical roof. The two windows have a large central pane with 10 horizontally aligned small panes both above and below the large pane with 6 vertically aligned panes to either side.
The second upper level porch in the gable on the front facade is squarish with one turned support post and two doors, one solid wood with a narrow transom and the other with a large glass pane and a narrow transom. The gable is pedimented with ornamental fish-scale shingling and has a narrow four pane window in arched molding.
The first floor porch is continuous in connecting two rounded porches on either side of the front entrance. On the right side of the house it continues as a wraparound almost the full length, ultimately narrowing and discarding the balusters. On the left side of the house, another porch, rectangular in shape is visible in the first image of the series. The large semi-circle has turned posts and balusters and two one/one windows; the gazebo-like extension has a turret and metal finial.
The off-centered entrance is a wood door, a small transom above a single glass pane below which is decorative woodwork and below that a recessed wood panel. Stone steps lead to the porch. A stone foundation is visible on the front facade.
Many side and rear views and interior views (with some duplication) of this house are at:
theoldhouselife.com/2019/11/01/porch-goals-the-mock-famil...
www.captivatinghouses.com/2019/11/22/1900-victorian-in-da...
The photos in the set:
1) front facade and partial left facade
2) straight on view of the front, 4 visible porches
3) angled view of front
4) large semi-circular porch on first story
5) semi-circular porch on second story
6) square porch on second story and gazebo-like porch extension on first floor
7) stone steps and entrance
8) partial view of right side of house
9) view of house with interrupting trees and foliage
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
Palais "Equitable"
(Other pictures you can see by clicking on the link at the end of page!)
Image: The granite façade of the "Palais Equitable". The base from Czech "hornblende granite" (granodiorite), superstructure: reddish granite from Lower Austria, pilasters and columns: "Rotschwedischer (red coarse-grained) granite".
© Verlag Christian Brandstätter - Alice Schumacher
"Stock-im-Eisen-Platz 3" (corner Seilergasse/Kärntnerstraße): Architect: Andreas Streit (1890-91). The building was erected for a New York Insurance Company ("Equitable") - an explanation for the U.S. eagle (bronze) on the roof. At the corner to Kärntnerstraße is situated the famouse "Stock im Eisen" (literally; stick/pole in iron).
The Palais "Equitable" is the only building in Vienna with a thick granite wall in Verblendmauertechnik (veneer wall technique). Base and portal consist of granodiorite, the so-called "Cistec granite", from Petersburg-Jeschitz at Pilsen, the remaining parts of the granite facade from Limberg in Maissau in Lower Austria. The gray-pink "Maissauer granite" is more fine-grained and plagioklasreich (rich in plagioklas). It comes from the Moravicum, one of the oldest units of the Bohemian Massif in Austria (Ordovician, about 450 million years).
The dark stripes under the cornice to the first storey and the portal superstructure consist of South Tyrolean "Pechstein porphyry" from Castelrotto. This dark rhyolite (quartz porphyry), which consists partly of shiny black obsidian (volcanic glass), belongs to the "Bronze quartz porphyry", which owes its existence to massive volcanic eruptions in the Permian (280 million years ago). The silica-rich rhyolite is similar in chemical composition to the plutonic granite. The massive columns and pilasters in the 2nd and 3rd floor are made of a red coarse-grained granite (presumably "Rotschwedischer granite - see above").
The wall paneling in the entrance hall and vestibule consist of Carrara marble ("Pavonazetto"), red Adnet lime, light "Unterberger marble", various colorful limestone conglomerates and breccias. The pilasters are of full green serpentinite. In the floor are red Adnet limestones, light "Untersberger", red-violet Kalkbrekzie, yellow "Giallo di Siena"as well as serpentinite artfully laid.
The walls of the stairwell, then again, are extensively coated with dark veined, white Carrara marbe of the type of "Pavonazetto". For pilasters as well as for door and window jambs the bright "Unterberger marble" ("marble trout") was inserted. Similarly, also for balustrades, including bright coral limestone breccia for its baluster. The stairs and the various platform - and intermediate platform areas consist of Sterzinger marble.
© Verlag Christian Brandstätter - Alice Schumacher © Verlag Christian Brandstätter - Alice Schumacher
Image: The base of the "Stock im Eisen" is from Czech "hornblende granite" (granodiorite). For the modern framing on the floor was used the South African dark green pyroxene-granite "Verde Fontaine" and the fine-grained, dark red Swedish alkali granite "Tranas". Main surface of the road : gray Upper Austrian granite slabs.
© Verlag Christian Brandstätter - Alice Schumacher picture: vestibule in the "Palais Equitable" with a detail of the natural stone inlay on the floor: red Adnet limestones, brighter "Untersberger marble", red-violet Kalkbrekzie (lime brekzie), yellow lime "Giallo di Siena" and serpentinite.
© Verlag Christian Brandstätter - Alice Schumacher
Thirty-eight monolithic, supporting stone pillars decorate the staircase. Four of them are of green serpentinit brekzie (ground floor), two more on the upper floor of bright, fossil-rich , grobblockiger (coarse-grained) coral limestone breccia. For the remaining 32 items have been used different types of granite: "Rotschwedischer" granite, the green-red Epidotgranit ("Granite Rouge Antique") from Corsica (France), the coarse-grained "red granite" from Liberec (Czech Republic) and the gray granite of Dornach (Upper Austria ).
The visit of the vestibule and the inner courtyard is recommended, but only on weekdays possible.
The Basilica of St. Michael the Archangel (placed under the invocation of St. Michael the Archangel ) is a church catholic located in the heart of the historical center of Menton . Since the road from the seafront , with majestic staircases allow to gradually reach the site where, on a spot in the stalls CALADE triumph whole perspective of the baroque architecture .
At the beginning of the xvii th century, desired by Prince Honoré II of Monaco , its construction was entrusted to the architect Lorenzo Lavagna. TheMay 27 1619The first stone was laid in the presence of the prince and lord Nicolà Spinola, bishop of Ventimiglia which depended Menton and Roquebrune while Monaco depended on the Bishop of Nice. Excavation works actually began in 1639 and the church was opened for worship in 1653 . Finally, theMay 8 1675The bishop of Ventimiglia Monsignor Mauro Promontorio dedicated the new church in the presence of Prince Louis I st . In 1701 , the architect Emmanuel Cantone erects a tower of fifty-three meters high, real watchtower overlooking the city. Its current facade was completed in 1819 in the spirit of the baroque of the xvii th century.
Inside, the vast nave with four bays form a large Latin cross . The choir , preceded by a triumphal arch is decorated with stucco marble with pilasters dishes. A painted wooden statue of 1820 representing Saint Michael slaying the dragon overcomes the altar in polychrome marble. The side chapels are decorated with altarpieces baroque. One is dedicated to Saint Devote . Some had been granted to wealthy families of Menton.
Beautiful organ in the choir (XVII c.) Unknown factor. It has been often attributed to Gio Oltrachino (Jean Utrect), organ builder native of this town, located in Genoa and which is known by many constructions organ archives in Liguria - only one still existing intact in Alassio - and Monaco: the parish church of Saint-Nicolas Monaco dated 1639 (current buffet that of St. Charles church restructured by architect Charles Lenormand and Merklin), that of the palatine chapel (1639) disappeared and another organo portatile the same time also disappeared. Gio Oltracchino died in Genoa in 1647 and the organ of Saint-Michel can not be attributed to him.
In 1999 , the Saint-Michel church is raised to the dignity of minor basilica by Pope John Paul II , and consecrated basilica in January 2000 . Since 1949 , each year in August, the square hosts the famous Festival of Classical Music . She is one of the most visited attractions in the Alpes-Maritimes.
The Basilica (and its square ; other items were enrolled at other dates) is the subject of a classification as historical monuments since 3 March 1947
Perry Belmont House, 1618 New Hampshire Avenue, Northwest Washington, D.C. (Ernest Sanson and
Horace Trumbauer :1909).
Dupont Circle Historic District (#78003056)
NRHP Reference#:73002074.
Places to visit in and around Stratford: Coln Rogers
Follow - from the road through the valley you can hear the river Coln murmur through the water-meadows below. Water swirls round the legs of drinking cattle, through the beds of yellow flags, between stepping-stones and past the church winding down to Bibury and the valley’s end. This is Old England, Saxon settlements strung along a wooded valley each with it’s ancient church: Coln St. Dennis, Coln Rogers, Winson, Bibury. Coln Rogers was the gift of a C12 knight, Roger of Gloster wounded at Walyeson, to the Abbey of Gloucester, for the good of his soul, in 1150. No more than small hamlet that follows the road, the church stands at the end of a narrow lane heading down towards the river.
The church is almost entirely late Saxon, only the Perpendicular tower, south porch and east wall have been added or substantially altered. Characteristic Saxon features betray a woodworking tradition adapted to stone. The angles of the nave have long-and-short work where upright and horizontal stones alternate vertically and the sides of the church have typical early flat pilasters. This is a rare survival, a pre-Conquest building with a 1000 years of history set amongst the water-meadows of a remote Cotswold valley.
The interior of the church is rather plain and indeed heavily restored but it does have a C15 figure of St. Margaret in stained glass and several good C19 windows by Heaton, Butler and Baynes. A substantial west gallery of 1910 supports the organ loft and an impressively primitive chancel arch divides the rectangular plan in two, a layout common to Saxon buildings of this date. On the south of the nave the pilaster is inscribed with a Saxon scratch-dial with five radii and the north wall of the nave has a small, round-headed Saxon window carved from a single block of stone. David Talbot Rice an expert in Byzantine art is buried to the north of the church and by peering over the north-west wall of the churchyard you will see the ruins of C14 building, possibly a priest’s house.
The Coln valley is one of our ancient landscapes little altered through the centuries, long may it survive.
The Coln valley crosses the Fosseway just south of Northleach and is about an hours journey from Stratford-upon-Avon.
The pilaster at the entrance of this shop bear the painted sign, depicting four pitchers (cucumae, the name has remained in a few dialects) in different colors, with the drinks sold here, and a listing of the price of the wine :)
Patron: Çandarlı Kara Halil Hayreddin Pasha, Grand Vizier of Murad I, and completed by Ali Pasha, his son and successor in the grand vizierate.
Murad I (Murad-ı Hüdavendigâr (Khodāvandgār)) 1326-1389, Ottoman Sultan (r.1362-1389); son of Orhan Gazi (r.1323/4-1362) and Nilüfer Hatun.
Architect: Haci bin Musa.
(This set on the Altizer House contains 11 photos) These photos are creative commons images, which you may freely use by providing a link to this page. Please respect the photographer and his work.
The Altizer House is located at the corner of Washington Avenue and Franklin Road in Roanoke, Virginia. The large city lot of over 1/2 acre permitted photos from all facades, starting at entrance and moving to the right façade on around the structure. Built apparently in 1925 (the NRHP nomination form gives date of circa 1910), this Colonial Revival style house has features typical of that architectural style, especially the 2-story front portico, the nod to classicism in the columns, and in the use of pedimented gables throughout.
Constructed of brick in a stretched bond pattern, the 3-bay 2 1/2 story house (with basement) is painted white. Today the building is multi-purposes with commercial offices. Information on square footage is inconsistent from various internet sources with 5,699 to 7,037 square feet given. The larger number may include the detached unit separated from the main house by a paved parking lot.
The most distinctive feature is the elliptical 2-story portico (in the central bay of the front) with a roof supported by two fluted columns and two fluted pilasters; a sort-of Corinthian capital is used in these support units. The gable roof contains three dormers on the front façade, all pedimented with 6 over 6 pane windows. Two unadorned internal chimneys are visible from the front, and two additional internal chimneys are at the rear. Below the cornice on all facades are block modillions.
The front entry is a single-leaf wood door with 6 recessed panels of varying sizes. Above the door is a large semicircular transom with sunburst motif, and to the sides are tall sidelights with ornamental design. Very slender mock columns separate the sidelights from main façade and from the door. A small roofless wraparound porch extends from the portico; it consists of turned balusters with short, squat rectangular porch posts between.
Fenestration throughout shows windows of various sizes with 9/1, 6/1 and 12/1 panes. An involved gable window on the side façade to the left of the front has an involved tripartite division with a vertical orientation. Each façade has an architectural element that creates an uneven plane--from the portico on the front to a gabled extension on one side, a complex mass of extensions at the rear (including a wood terrace) and an additional 3 story element on another side, of the basement is included. There are several lower-level entrances at the rear.
Separated from main house by a parking lot is a smaller unit of 1 1/2 stories with a pedimented front gable entrance and a side gable with partial returns.
The Altizer House is included in the Southwest Historic District of Roanoke, Virginia. The district was added to the National Register of Historic Places June 19, 1985 with reference ID #85001349. The 195 page form is online at Virginia Department of Historic Resources www.dhr.virginia.gov/wp-content/uploads/2018/04/128-0049_... The district has a boundary increase in 2020 (listed December 3, 2020) and that information is at www.dhr.virginia.gov/wp-content/uploads/2020/09/128-6472_...
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Tax-free house Weissenwolff
BUSINESS AND OFFICE BUILDING
Location: Main Square 27, City Hall district
District: Linz Center
Date: 1658
Early Baroque former tax-free house with carlonesker (Giovanni Battista Carlone - stucco plasterer) colossal pilasters arrangement. Unfortunately for the use as a department store completely gutted. Today, banking and commercial building.
The significant building, dominating the south side of the main square, has the main front with four storeys and seven axles at the main square, in the Dom alley and Schmidtor street the ten-axial side fronts. The ground floor is completely renovated, with exception of the only in 1952 again exposed main portal in the center axis of the main facade.
History
Documentarily the house in 1385 as a possession of the city judge Wernhard Chammerer was named. In 1642 it was acquired by the Jesuits with the intention of there to build their church. It remained an intention. 1658 acquired Ungnad David count Weissenwolff the house and had it rebuilt from the scratch. The rear side stands on the city wall. 1659 emperor Leopold I gave the full house exemption. From 1703 to 1706 took place a lively correspondence between the city and Weißenwolff'schen guardian because of the behind the tax-free house collapsed city wall. The city claimed that the city wall by a too large conducted flying buttress had been pushed out.
In an apartment of the house lived from April 1818 to the end of 1819 the former police minister of Napoleon, Joseph Fouché, Duke of Otranto, with his wife and daughter in exile.
1931 during the reconstruction the Dom alley facade the main square front was adjusted. Since 1940, the house is a listed building.
Freihaus Weissenwolff
GESCHÄFTS- UND BÜROGEBÄUDE
Standort:Hauptplatz 27, Rathausviertel
Stadtteil: Linz Zentrum
Datierung: 1658
Standort im Stadtplan (neues Fenster)
Freihaus Weissenwolff
Frühbarockes ehemaliges Freihaus mit carlonesker Kolossalwandpfeiler-Ordnung. Leider für die Verwendung als Kaufhaus völlig entkernt. Heute Bank- und Geschäftsgebäude.
Das die Südseite des Hauptplatzes beherrschende bedeutende Bauwerk hat die Hauptfront mit vier Geschossen und sieben Achsen am Hauptplatz, in der Domgasse und Schmidtorstrasse die zehnachsigen Seitenfronten. Das Erdgeschoss ist völlig erneuert, ausgenommen das erst 1952 wieder freigelegte Hauptportal in der Mittelachse der Hauptfassade.
Geschichte
Urkundlich wurde das Haus 1385 als Besitz des Stadtrichters Wernhard Chammerer genannt. 1642 erwarben es die Jesuiten mit der Absicht, dort ihre Kirche zu erbauen. Es blieb bei der Absicht. 1658 erwarb David Ungnad Graf Weissenwolff das Haus und ließ es von Grund auf neu erbauen. Die Rückseite steht auf der Stadtmauer. 1659 erteilte Kaiser Leopold I. die völlige Hausbefreiung. Von 1703 bis 1706 fand zwischen der Stadt und dem Weissenwolffschen Pfleger ein reger Briefwechsel wegen der hinter dem Freihause eingestürzten Stadtmauer statt. Die Stadt behauptete, dass durch einen zu groß geführten Schwibbogen die Stadtmauer hinausgedrückt worden wäre.
In einer Wohnung des Hauses lebte von April 1818 bis Ende 1819 der ehemalige Polizeiminister Napoleons, Joseph Fouché, Herzog von Otranto, mit seiner Frau und Tochter im Exil.
1931 wurde beim Umbau die Domgassenfassade der Hauptplatzfront angeglichen. Seit 1940 steht das Haus unter Denkmalschutz.
www.linz.at/archiv/denkmal/Default.asp?action=denkmaldeta...
Ickworth has belonged to the Hervey family since the 15th century but the Italianate Georgian building seen today dates to the end of the 18th century when Frederick Augustus Hervey, the 4th Earl of Bristol decided to build a home fit to display his enormous art collection.
Based on the vision of Italian architect Mario Asprucci, he commissioned brothers Francis and Joseph Sandys to create a neoclassical showpiece: the Rotunda. Building began in 1795 but was halted on the 4th Earl’s death in 1803. It stood unfinished for decades, only being completed in 1842 by the 5th Earl (who became the 1st Marquess).
This pilaster is part of the external decoration of the Rotunda.
Tall case clock of inlaid woods with fluted pilasters, wooden fretwork, and three brass finials. On the face, there is a rocking ship in front of a scene with a lighthouse; green and gold fans in the corners; and the name, "Joshua Wilder / Hingham." The cabinet is likely made by Abiel White of Weymouth, who collaborated frequently with Wilder.
Gift of Estate of Elsie Soule Wing,.
In the collection of the Hingham Historical Society [FU138].
Allan Johnstone (Stirling), 1825-1826; altered, William Simpson, (Stirling) 1877. Classical former Secession church, abandoned 1968, set on fire 1980, all but facade destroyed, modern extension to rear built on conversion to residential, circa 1985. 2-storey, 5-bay divided by pilasters. Squared rubble with ashlar margins.
In the 1730's Ebenezer Erskine, one of the ministers of Stirling, left the Church of Scotland and in 1740 he and his followers built the first Secession Church roughly at the spot where the monument to him now stands. The monument was erected over his original tomb in 1859. The RIAS guide reports that the present church was built on what was the preaching green behind the original, the grand classical church with its pediment and pilasters was a symbol of the rising fortunes of the Seceders. The interior was acoustically perfect, and had a curved gallery, tiered seating and fine plasterwork. The name Marykirk derives from the 1934 merger between the Erskine, and the mission church in St Mary's Wynd.
Lawrence and Eris Field Building, Baruch College, 17 Lexington Avenue a.k.a. 134-148 East 23rd Street, New York, New York (Thompson, Holmes and Converse : 1929)
Formerly known as the City College School of Business & Civic Administration.
In de Molenstraat in Gorinchem stichtten Matthijs Aelbertz. en zijn vrouw Mariken Kolff in 1556 een weeshuis. Zelf kinderloos gebleven, bepaalden zij dat het huis ook na hun dood een kinderweeshuis zou blijven.
Versierde deurtravee - in Lod XIV-stijl - met boven het hoofdgestel van de deur een gevelsteen met reliëf alsmede vier wapens.
Bron: Rijksdienst voor het Cultureel Erfgoed"
Rijksmonument: nr 16646.